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>A wet diopter increases magnification while decreasing the lens' working distance. This makes a longer lens (such as a 100mm or 105mm lens) the best choice. Magnification beyond 1:1 can also be achieved with a 60mm macro lens, but this can make the working distance between the port and the subject so short that it becomes difficult to illuminate the subject with a strobe light and skittish creatures are more likely to be frightened. Using a longer macro lens will allow you to maintain a respectful distance from marine life and provide the space for a more creative approach to lighting. The most popular setup involves an external wet lens attached with a flip adapter. This configuration allows the photographer to shoot without additional magnification for larger or more nervous critters or to flip down the diopter and zero in on really small subjects.

>Colorful details of supermacro subjects may go unseen without the use
>of a diopter.
>Ideally, the objective is to capture the images in-camera — not through creative cropping in postprocessing. This ensures the highest-resolution images and, thus, the greatest enlargement possibility for decorator prints or publication. Newer high-resolution cameras such as the Canon EOS 5DS and Nikon D810 offer huge files, and some cropping is certainly acceptable. But purity of the discipline obliges composing and capturing as close as possible to the end result.
>Once you're within the realm of supermacro, certain technical considerations must be considered. Magnifying your subject and creating supermacro images significantly affects depth of field, composition and lighting.
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>Strobe angle and high shutter speeds are an essential combination in creating
>a black background.
>My strobes are usually angled so they're not aimed directly at my subject. A modeling light separate from the strobe is extremely important for this setup. Often I use a single strobe over the subject and aim it slightly back toward my housing so most of the light is actually shadowed by my housing and port. Just a small curtain of light illuminates the subject. This strobe angle can help eliminate background light even on a shallow reef. In some cases I use a light-shaping device such as a snoot (see alertdiver.com/Unique_Techniques) to eliminate a distracting background.
>Sometimes I want big and bright macro images and need a flood of light. In these cases I aim a primary strobe and use a second strobe (usually set to low power) for fill light. Backlighting with a third light can give the subject an additional layer that will set your photo apart from the pack.
>Before your next dive, get to know your system a little bit. Identify and learn how to work with your camera's weak points. Learning how to squeeze a little more horsepower out of your existing system can be as simple as experimenting. Here are a few ways I have revved up the power of my camera system through logic and experimentation.
>Learn the camera's focus-locking functions. This can be a powerful tool for split-second shooting. Once you achieve correct focus you can stop the lens and adjust the critical focus with subtle camera movement (or the subject's movements).
>Any lens appears darker as the aperture decreases, for the obvious reason that less light reaches the viewfinder. To eliminate the handicap of focusing through a dark lens, modern cameras have automatic diaphragms and only step down to the preset aperture at the moment of exposure. The image's DOF will no doubt be better than what is seen through the ground glass for the simple reason that rarely would a macro shooter expose at wide-open apertures. The precise DOF will not be revealed until later in the image review.
>Visualize your sensor plane as a three-dimensional rectangular space in which your subject will be photographed. Left to right is the plane of field, and front to back is the depth of field. After locking your focus you can recompose in this space to get away from the standard bullseye composition. Getting low is also important for exposing the little critter's habitat and getting a more intimate look into its world. Shooting anything from front to back will always create a greater fall off of acceptable sharpness in your DOF. Shooting the subject on a plane parallel to the camera's sensor will maximize the areas of the image in sharp focus.
>Good buoyancy control and sensitivity to fragile coral is of course very important with supermacro photography. It usually takes time to gradually approach cryptic and skittish creatures, and it may be tempting to kneel on the bottom when doing so. It is almost always best to dive without being in contact with the substrate and to also make sure gauges or fins don't inadvertently come in contact with fragile coral.
>Going beyond 1:1 isn't as difficult as you might think; all it takes is a little practice, determination and a good eye for finding subjects. Remember to be patient with yourself, have some fun, and try to apply a few of these techniques to help you along.
>© Alert Diver — Q3 Summer 2016